SUMMARY REMOTE VIEWING SESSION LXXX

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000901040001-8
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 19
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROJECT
CLASSIFIED BY: Director, DIA
REVIEW ON: 31 Jul 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
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REMOTE VIEWING (RV) SESSION LXXX
1. (S) This report provides documentation of a remote
viewing session conducted for the purpose of orienting a
remote viewer to an applied remote viewing protocol.
2. (S) This session contains several remote viewer impres-
sions which show target correlation. The remote viewer was
able to relax and concentrate very well. Ambient room noise
was minimal. The actual viewing time was relatively short
but as the interviewing continued, during the drawing phase,
the viewer's images seemed to become more clear and distinct.
Basically, the viewer described an "L" shaped peaked-roof
building approximately 30 feet high and 65 feet long with a
few windows. The viewer's descriptions of the front of the
building is distorted but does include a white triangle or
wooden border surrounding a dark area. He also associates
the colors red or deep brown as the basic color of the building.
There is also hedge-like shrubbery and grass at the target.
The intersecting paths (sidewalks), one of which leads to the
front of the target, are also easily recognizable at the
target.
3. (S) The protocol used for this session and which will
be used in later training is detailed in the document, Standard
Remote Viewing Protocol (Local Targets) by Harold E. Puthoff
and Russell Targ, November 1978.
4. (S) Following is a transcript of the viewer's impressions
during the remote viewing session. At TAB A are drawings
made by the viewer reference his impressions of the target
site. At TAB B is a photograph of the target site.
Pril=
'=, GIVE I
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REMOTE VIEWING (RV) SESSION LXXX
#66: This will be a remote viewing session (edited
for security).
#66: #14 and #36 are out at the target now. They
are observing the area. They are interacting
with the target. Look at the target with them.
See what they see. Feel what they feel. Sense
what they sense and describe the target to me.
+05 See the area with #14 and #36 and describe it
to me.
#31: I saw. . . of a . . image of a green bushy
things.
#66: That's fine. Just give the broad general
descriptions of the area. You said you see
something green now, go on.
#31: (Mumbling)
PAUSE
#31: All of a sudden the white strips through it.
PAUSE
(Mumbling) other side.
PAUSE
#66: Okay. Tell me more about the target.
PAUSE
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#31: (Mumbling) another white.
PAUSE
(Mumbling) I don't have anything on the sides.
PAUSE
#66: Focus on #14 and #36. Focus on #14 and #36
and describe their position relative to what
you are seeing.
PAUSE
Describe what you see.
PAUSE
#31: Okay. . Ah . . Ah. . I want to . . say a
(not audible) of white. Two vertical white
things. Big and round. They sit up. How
high - (not audible) on a white line. One
on top of the other. Going up to the white
round things.
I'll say there's rails on each side. Something
on the end of the white things. They are
horizontal. They're dark. They're skinny
and they're round.
PAUSE
+12 #66: Describe the size of this object.
PAUSE
#31: Its a (mumbling).
PAUSE
#66: Tell me where you are in perspective to what
you're seeing.
PAUSE
#31: I'm inside. (Mumbling)
PAUSE
#66: And from the side, how large is . . .
#31: It was fifty feet long. Its long.
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+15 #31: I'm just not there #66, its not like I had
them.
#66: Do you want to try to draw what you have?
#31: Let me try to draw some and then maybe I can
try again to get something out. My first
#66: Can you see all right?
PAUSE
#31: Something like brush out in this way.
Damn! I think my drawing's getting better.
Ha ha ha
PAUSE
(DRAWING)
That is all I have really of any significance.
#66: Okay. Tell me a little bit about what you've
drawn.
#31: Right. This is . . Here in the foreground, let's
say, this is my first thing, this was a green
hedge or a green, big thing, long. Okay. And
it was as though I was looking over the hedge
into a lawn, right. And somewhere out of my
view on the right here was where this white.
this was white; it was like a white walk.
Somewhere out of my view is where this white walk
came out and intercepted this white walk going
this way, okay.
#66: Okay. I think these two things that you call
walks or white things there. . .
#31: Right.
#66: Intersect off of the drawing.
#31: Yeah. They're off. But I never saw the
intersection.
#66: All right.
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#31: But its. . the angles are like they should
be there.
#66: All right.
#31: And at the end of this walk, was . . let me
get rid of these, because that was later. .
was this fleeting image of this front part of
a building or something. Some sort of a
structure.
#66: Okay.
#31: I want to say that there are three of these
(STEPS). Okay, not two. Three walks up, two
columns, white and I don't know what kind of
cap (not audible) and then this peak part.
Now, this isn't the only building. This is
merely the pasod or the front or whatever.
This is a part of a building but I can't tell
you what the rest of it looks like. That's why
I drew these lines out here dotted on the sides
because this was just the center, like a main
entrance door.
#66: Okay. Okay. Now, do you, did you perceive at
any time the . .
#31: That's the whole shot. That was one total thing.
#66: Okay, do you perceive the "outbounders" in this
scene at all?
#31: No. I don't seem to be able to perceive the
"outbounders".
#66: Okay. That's fine. I just wanted to know. Okay.
Okay. That was the one scene that you saw.
#31: Yeah. Then what I tried to do was put myself
on this white strip here and try to get down
to this thing to examine it more closely, okay.
#66: All right.
#31: So then I just ended up with a . . okay. . those
are round of course.
I didn't get any feeling. . I was looking along
the side here so to see, you know, as I was
trying to go down there, but I didn't see
anything; it was all just grass. And my . . .
I felt that it was just open lawn. That there
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wasn't anything really there to look at. I
had the. . I had an impression that there may
be little flowers planted along the side of the
walk. Some sort of . . different coloring.
But I couldn't tell if it was a solid strip
or if it was just in blurges or, I'll just
write colors along the left side. I don't
know about the right side.
#66: Okay.
#31: Okay, that was 2. I tried to get myself farther
down there into it. And I ended up with. .
Then, I ended up with again the same doggone
figure. Let me go over to another page so I
can draw it larger than that. And get the
right proper perspective because I was trying
to get in close. Then I ended up . . that's
even too large (Mumbling).
PAUSE
Okay. These steps.
#66: What color was this thing that you are drawing?
#31: These are white.
#66: Okay.
#31: I had the feeling that outside here was red.
Or burnt brown. Okay. But the pillars are
white. This I wanted to say was a deep color
in the middle. . this is up until now. When
I saw here was a white triangle, okay (reference
the peaked roof).
#31: And its dark in the middle. And what I want
to say is that it is white. . bordered around
it. Okay.
And I had the feeling of. . how do you draw
these things? They're not round; they're
flatish round. Its oversized. Buy anyway,
they're handrails or something.
#66: Did you perceive them as having a function then,
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#31: Yeah. But I told you they were dark and
round. I'll tell you what I said. I'll
stick with what I said. One on each side.
And I want to say that the building is "L"
shaped because I had. . where am I, one, two
or three.
Okay.
#66: Um hm.
#31: I can't tell you how wide the bloody thing was.
#66: Okay, is this A, what you're perceiving as some
sort of overview perspective or what?
#31: Yeah. Yeah. From the top down.
#66: Oh, okay. I can see where your roof peaks
then okay.
#31: Okay. There's the other walk.
#66: Okay.
#31: I can't do that. All I can tell you is this.
#66: Okay.
#31: If there is a . . okay.
#66: Okay. Is there a feeling for the building
or the atmosphere of the building.
#31: No. Not really. I don't. . . No, I don't
really have one. I tried to stay away from
anything that would. . Maybe that's the idea.
I got the . . If I got one thing that was an
atmosphere of books, it was an atmosphere of
books as I already said it.
#66: All right.
#31: Okay. I got the atmosphere of quiet and
tranquility. Didn't see any hustle and bustle
going on. . or anything like that.
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#31: Didn't get any feeling of traffic or anything
like that when I was . . you know, my first
view or anything like that. I just got the
idea that it was just sitting there.
#66: Okay. Well, would you. . How do you feel
about this? You've made the comment before
that you didn't feel like you were there.
#31: I was starting to lose it later on.
#66: Okay, but these images. .
#31: When you asked me how large the building was,
I started to lose it.
#66: Okay.
#31: That, what I tired to do then was to like go
here to see how. . you know, to try to get
some feeling for depth of this thing. Because
for some reason I couldn't get away from these
front. . the front capitol or pillars or
whatever you want to call it. So anyway I
tried to go to the side. So I did get a view
from the side but there's nothing worth drawing
from it. Because by that time I don't know what
I was doing. Six.
#66: But at the beginning here you. . do I understand
you to say that you, you, these images were. .
#31: Good. This was good, okay.
#66: Okay.
#31: Okay.
#66: Okay. The one, the first drawing was the
perspective of the two . . .
#31: Right.
#66: . . whites and where you felt you were behind
some hedge or something.
#31: Right. That was good. I say, this was good.
#66: Where you're trying to move. .
#31: Where I'm trying to move down the walk to this,
this structure anyway.
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#66: Um hm.
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#31: And then I think Number 3 was good.
#66: Where you were closer to this structure
and . . .
#31: Yeah.
#66: . . . perceived some sort of handrail?
#31: Closer into the handrails. But after that I
began to lose my focus. The reason I got this
overhead shot at Number 4 is not because I
tried to do it, but it was as though I just
was drifting away from the target.
#66: Okay.
#31: And then, the Six was a side shot but that was
after you had said. . that was after I . . you
had said, you know, try to determine what size
it was.
Oh, wait a minute! One thing I tried to do
was. . I was up here up front first, that's
when you . . that's when you first asked me
what size it was. And I would say, what I tried
to do is go . . go up the peak, you know, to try
to get some estimate of how high this thing was.
#66: I originally . . after that, then I tried to get
you to focus on your relative position to the
thing so that you could judge based on your size
or your position. How big it was.
#66: Did you say something bout 60 feet or something?
#31: That's this here. What I can't tell you is
because of the way I was looking at it, I can't
tell you if that is the 60 feet or is that the
60 feet, okay.
#66: Okay.
#31: You see why. Because I was looking at it from
the side out here and I didn't tell . . .
#66: Okay. Because its an "L" shape you don't know
(not audible).
*.
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#31: I'll tell you right here, my view does not
have an "L" shape on it. Its just a . . .
that's it.
#66: Okay.
#31: I don't know if that "L" shape is hidden in
here or if its something farther on.
Okay.
I want to say there's a few windows.
When you were looking at it from the side,
right after I asked you about the size of it,
Right. Okay.
Okay. So what I. . I'll draw it on this sketch
but its actually here. I'll write 60 feet in
so you know where, 65 feet I think I said.
Either of these two lines could be the 65 foot
dimension.
Okay.
#66: All right.
#31: Either just the straight part of the building
or also the perspective that would include
the back of the building which was "L" shaped
towards me.
#66: Because it. . am I hearing you to say that
that point it became like a two dimensional
#31: Right. Rather than 3. I don't remember seeing,
I don't remember seeing anything other than a
two dimensional and not only was it only two
dimensional but I could - I could perceive no
depth. Okay. So because of that I don't know
what. . .
#66: All right.
#31: See I got the "L" shape from the overhead. But
from the side view, Number 6, I didn't get any
contour of . .
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#66: All right.
#31: Of it being "L" shaped. . or not.
PAUSE
I say 30 feet high for the front view. That
was because I was trying to drift up and down.
#66: Are you saying that it felt or are you perceiving
as seeing a long ways as you were trying to drift
up? What is your scale of measurement? How do
you determine that its 30 feet?
#66: Okay. Is there any way you can explain your
feelings to me. Any more than that.
#66: I'm trying to identify now. . .
#31: What was I using as a . . I think if I was to
say the scale what I was using was this thing
on the right side. If anything was being used
as a scale measurement, and I moved up away
from this.
#66: The handrails, you're talking about.
#31: The handrails, yeah. If anything gave me a feeling
for relatively or relative size there it was
this handrail thing. And then by moving, just
by moving see because what I did was I moved up
to the peak and then came back down. And just
by moving up to the peak and coming back down
I said its about thirty.
#66: Okay. Fine. All I wanted to do is insure that
we identify that with how you come about to
that so that we can validate that later and if
that looks good to you, you know that technique
works.
#31: And the same thing goes with just the figure 65.
just happened to come into my head when I was
sitting here trying to look at the side of this
in response to your question of how large it was.
I don't think I tried to be too analytical with
it, it just came in,
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#66: All right. Fine. That's good.
#31: So anyway, that's what I have.
#66: Okay, well you've given me a lot of data here
do you want to go look and see what we have?
#31: Let me, I would like to draw two of these
here so there's no question. Okay, that's
there. That'll be this. That's. the white
bordered. Okay. Dark inside and then its
light around it. As though it was just wood
facing or whatever. Frame.
#66: Okay, is that it then?
#31: That's it, #66.
#66: Okay.
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TAB A
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r
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TAB B
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